Feb 262001
 

Posted by Rhizomer on February 26, 2001 12:00 am

To our shareholders

had another remarkable year in 2000. We made major advances in all our key businesses. The demand for great software that helps people work, communicate, and learn is stronger than ever. Our products are doing well because they deliver on these needs.

iStreet Access Machine () is proving a great success. Customers appreciate its ability to work better, while its robustness means that is generating less than half the customer calls of its predecessor (SAM). Integrated with the latest Internet technology, helps our customers leverage the interactivity of the Internet with the intelligence of the PC. is making deeper inroads onto the streets, based on its productivity, reliability, and lower total cost of ownership. And iStreet, a compact version of the Street operating system designed for a wide range of intelligent devices, is finding its way into everything from interactive televisions to hand-held computers. Continue reading »

Feb 102001
 

Presentation of the awards, February 10th, 8.30 pm

The award ceremony of this year’s .01 for the categories Video, Interactive and Artistic Software took place on Saturday evening. Together with all the shortlisted artists, artist’s groups and numerous international guests, the State Minister for Culture and Media Prof. Julian Nida-Rümelin awaited the announcement of the prizewinners. In his introduction, Nida-Rümelin pointed out the necessity to consider and foster as an integral part and critical mirror of the .

The prize in the category Artistic Software, a prize which was awarded at the transmediale for the first time at an international festival, was split between Adrian Ward/Signwave (UK) for his program „Auto-Illustrator“ [www.signwave.co.uk] and Netochka Nezvanova for her very idiosyncratic internet browser „Nebula.M81 – Autonomous“ [www.eusocial.com]. The prize in the category Interactive went to Herwig Weiser and Albert Bleckmann (D) for their installation „zgodlocator“ [phosphen.org/zgodlocator]. The prize in the category Video was split as well between Istvan Kantor (CDN) for „BROADCAST“ and Sylvie Laliberté (CDN) for „L’Outil n’est pas toujours un marteau“. Continue reading »

Dec 022000
 

DYSTOPIA. CURATED BY CRISTINE WANG (CURATOR, NEW MEDIA ARTS)

MACHINES WILL LEAD TO A NEW ORDER BOTH OF WORK AND OF LEISURE”

[Le Corbusier, Vers une Architecture (1923)]

Artists at the beginning of the 20th century sought towork in hybrid forms, as a socially-oriented movement, anutopian vision which embodied the idealism of a neworder, believing itself capable of changing, reforming,reordering–totally changing all aspects of human life.They embraced the notion of the all-encompassing role ofart: the profound belief in the ability of art to effectchange.

Almost one hundred years later, into the new millenium,we have seen the effects of this utopian vision: thefailure of modernism and its various permutations on aglobal basis. Continue reading »

Jun 022000
 

by , Berlin, June 2000 <inke@snafu.de>

written for [d.i. Daniel Garcia Andujar], , catalogue, to be published in August 2000 [English / Spanish]

„I am not fond of manipulation, and I think you should not use it for political aims.” (1)
(Left-wing squatter in Berlin, April 2000)
In 1996-1997 together with Ute Vorkoeper we organized and curated the international exhibition project discord. sabotage of realities (2) which took place in the Kunstverein and the Kunsthaus in Hamburg. The exhibition was part of the Hamburg Week of Visual Arts 1996, partly funded by the city’s Cultural Office. Artists worldwide were invited to submit artistic concepts dealing with today’s more and more un-peaceful political and social realities. The organizers received more than 500 concepts from 31 countries. The actual exibition discord was divided into six thematic zones focussing on control (security/insecurity), news services (disinformation), everyday (alienation), border politics (walking the tightrope), state machineries (law, discipline, repression), science fiction & economy (the administration of the future) and included an international selection of 34 artistic works most of which were premiered in the exhibition, and 26 additional artistic concepts from 18 countries.

Continue reading »

Mar 252000
 

PRESENCE , a presentation weekend and at , Oslo,

by Kristin Bergaust

Around 20 different projects that combined new , social and political awareness, were presented to the public in the premises of Atelier Nord media lab at the end of March 2000. The presentation weekend was also an introduction to the workshop that was held the following week.

The weekend event was open to the public. Norway has been quite isolated from what has been going on in new media culture in other parts of Europe, and this was the first presentation of its kind in Oslo. The aim was to introduce media art concepts and practices to an audience of Norwegian artists and interested public. The event was also introducing ideas for the development of a Norwegian of media-labs and other initiatives as well as developing further international networks and connections. Continue reading »

Feb 112000
 

FERRAN BONO – – 11/02/2000

Una gran exposición, en consonancia con su propósito de recorrer más de 500 años de historia, ocupa desde ayer las estancias de la antigua sede de la Universidad de Valencia (la Nau), buena parte del nuevo edificio de investigación del Jardí Botànic, y las salas temporales del Museo Nacional de Cerámica. Son los tres escenarios de una cita culminante en la celebración del quinto centenario de la fundación de la universidad valenciana. Arte y artilugios, cuadrantes y sexantes, manuscritos y libros, legajos y pancartas, retratos y fotografías, cuadros y esculturas, piezas anatómicas y fichas policiales de estudiante antifranquistas…, hasta 600 piezas se han reunido con voluntad didáctica en la exhibición del patrimonio de la Universidad de Valencia, patrocinada por Bancaixa. Más de un centenar de prestadores privados e institucionales han colaborado en la consecución de la muestra. Continue reading »

Oct 181999
 

Memory__ v 3.01

By Steve Dietz
In 1968, in a report to the Rockefeller Foundation during a residency at SUNY Stony Brook, Nam June Paik argued that 97% of all electronic music was not recorded and that “a simple measure would solve the whole problem. An information center for unpublished electronic media should be created.”2 Of course, at the time, this meant such a center would “provide a xerox copy and a tape copy of musical pieces, at the request of performers, students, and organizers from all over the world.” Still, convert analog to digital, and the dream lives on, perhaps more vibrant than ever, of a universal archive, with access to everything by anyone anywhere at anytime. Continue reading »

Oct 011999
 

podium

October 1 – 3, 1999,
(Speaches and discussions in englisch)
Speakers:
- Daniel García Andújar, artist
- Tobias Berger, curator
- Heath Bunting, artist
- Christine Meierhofer, artist
- Heiner Holtappels, MonteVideo, Amsterdam
- Mike Stubbs, artist, Hull TBA
- Herwig Turk, artist
- Thomas Munz, Werkleitz/EMARE
- Karin Frei, curator, Zürich
- Ekkerhard Kähne, Medienhaus Hannover
- Thorsten Schilling, mikro, Berlin
- Hermann Nöring, EMAF, Osnabrück
- / , curators
Continue reading »

Jul 221999
 

Not so long ago on the subject of the war in the Balkans, the French sociologist Edgar Morin wrote “… in any event the harmful effects are irremediable. The disaster that has emerged from the heart of Europe has struck Europe in the heart. This disaster is now generalised. The barbarity of Total Nationalism has not been the only cause of the disaster. In the western area the ravages of a blind rationality, abstract, quantitative and mechanical, have divided and pigeon-holed the various complex realities, incapable of placing their facts and problems in an appropriate context, incapable of understanding the shortcomings of its own logic and incapable of conceiving its own blindness. Madness!* Madness! Madness! Not only the madness of Serbian Total Nationalism and of its ravages, but the lunacy of a war waged by computers, calculations, figures and of killing machines, silenced by a limiting techno-military intention.” The work of Daniel G. Andújar frequently unfolds between the intersecting spheres implied by the use of technology and its practice as a sophisticated instrument of control and dominance. A computer poses an illusion (due to its genuine incapacity): the possibility of hacking a telephone company, in the reach of anyone with a minimum knowledge of computer language. Sociologist and artist alike propose a reflection on contemporary war, in which the classical notion of hand-to-hand fighting disappears, giving way to a series of variable factors related to diverse realities, almost always far removed from the social and political reality of the true areas of conflict. The Gulf War was possibly a media war, but the present Balkan war is even more cruel for it only seems to take place inside the computers switched on in the various NATO headquarters. The consequences in terms of death, destruction and displacement of human masses originated by this designer war seem to be reduced, according to its architects, to undesirable yet necessary collateral damage. One final question before moving on — how important is it to destroy actual ‘territories’, now that the networks of power and money are totally decentralised and their tentacles oblivious to frontiers?

Jun 111999
 


Via the works of Catherine Beaugrand, Mira Bernabeu, Heath Bunting, Daniel G. Andújar, Juan Fernando Herrán, Jan-Peter E.R. Sonntag and Eulalia Valldosera, “” attempts to create spaces for reflection on new forms of relations and of human behaviour.


By means of photographs, light installations, video, sculpture and the Internet, the artists try to find their way through the interstices of the complex networks, in search of specific fields of action for people with disparate and divergent interests.

 

Continue reading »